FAST生产? 慢慢来

此外, 如果你是流媒体, you can’t just pop on the TV 和 flip through channels of content that’s already playing to find something to watch. 如果你知道你想看，就说， 帽锡箔奇迹, 你必须选择服务, 等待菜单, 选择一段内容, 等待它加载, 选择电影, 等待它加载, 告诉它播放, 让它缓存. 然后你就可以看了. Or, if you’re unsure of what to watch, you have to root around 和 search for something. 或者在网上寻求推荐. 我看到很多人这样做.

正如蒂博所指出的, there’s a vast audience that isn’t keen on working that hard to find something to watch. 他们想打开电视，享受娱乐. They’d rather flip through a few channels 和 settle on something that meets their viewing needs at that moment, 是一部动作片, 一个浪漫喜剧, 孩子们娱乐, 晚间新闻, 祈祷, 等. So, there is another audience for your OTT content: those who don’t stream content but just watch “traditional” TV.

Thibeault使用了这个缩写词 FAST(免费广告电视). 早在它成为流媒体流行语之前, that’s what broadcast TV had been from the very beginning: free to viewers, 广告支持它的制作, 在空中. FAST并不新鲜. 定期电视广播始于美国.S. in 1939. 但如今，在流媒体服务上查找内容并不是很快. 如果有什么区别的话, 看 broadcast TV on TiVo is the fastest version of ad-supported television because all of the live TV is right there 和 它会把我想看的所有节目都集中起来，不管哪家节目提供方是谁. 如果我想看一个演员, 我搜索他们的名字, 他们所有的电影和节目都接踵而至. 免费. 几乎是免费的. TiVo也有成本.

但对于 流媒体制作商忽略FAST，后果自负. Making a half-hour show exactly 30 minutes can actually be a bad idea because in order for you to be able to remonetize that content on FAST, 有些人已经开始这么做了, 它必须与其他定时内容一起适应广播网格. 这意味着你可能需要修剪一下节目. And possibly worse: Someone else licenses your content 和 chops it up how they want. Does it matter to you what 15 minutes someone else takes out of your hour show to make it fit their FAST schedule? This is what has been done for decades with original prime-time network content that then goes into syndication: Additional advertising time is carved out of the show to make it more profitable the second time around.

当我参与制作烹饪系列节目时 口味的 美国 和 健康的味道 为公共广播公司和有线电视广播, we had to conform our show to both 28:30 of linear content for PBS 和 23:50 with bumpers 和 breaks for commercial broadcast. 知道 the time the ads would require affected how we planned, produced, 和 edited the show.

同样，FAST节目也需要广告空间. 除非你有意在节目中加入这个空间, 它只是随机地分割你的内容, ruining the mood of narrative content 和 frustrating viewers just as the show was getting to the “good part.“现在在Roku设备上观看YouTube内容是这样的. The r和om “pop” to commercials in the middle of a scene is very annoying.

The opposite of this is 看 syndicated broadcast programming that was edited with commercial breaks in mind, 但是现在没有了. The content is written into little packages of narrative content that wrap up 和 pause for the commercial break. 例如，在无广告的流媒体上观看这些内容是很奇怪的, 看前两季 奥维尔的 在Disney+上播出，这是为福克斯电视台播出的. 像这样的节目在原来的广播环境之外呈现, viewers who have only ever watched on-dem和 streaming 和 don’t underst和 the concept of commercial breaks can be left wondering why the show keeps pausing 和 fading to black every 12 minutes or so, with everyone in the scene just st和ing there 和 looking around while it fades out.

知道 where 和 how your content will be viewed should affect how you produce it. Whether you leave room for commercial breaks or whether you push through as if they aren’t there are content considerations that are worth addressing at the outset. 对于叙事内容, this is not just an editing decision: It’s something worth keeping in mind even in the writing stage. 但是对于直播来说, knowing that every 10–15 minutes the content might need a “break” in some future viewable version should inform how you produce it now. Maybe change up the stream, 和 go to a slide that informs viewers about what they’re 看. That way, you’ll have provided a natural place to put the commercials in later.

最后, 以便您的流媒体内容通过FAST交付, 你可能需要慢慢来.